“Oslo” tells the story behind the famous photograph of Israeli Prime Minister Yitzhak Rabin and Palestinian Liberation Organization Chairman Yasser Arafat shaking hands on the White House lawn in 1993. A new TV movie from HBO highlights secret negotiations The outcome that led to the historic negotiations and the Oslo Accords, a milestone in the winding road to Middle East peace.
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As with many movies based on true stories, people’s lives are much more rich than what can be told in a two-hour work at the most, so the real story in the film was cut short for screen fit, but in the end it remains exciting and entertaining.
The film’s first main character is Mona Gul, a Norwegian Foreign Ministry official who came up with the idea that if a meeting was arranged between representatives from Israel and Palestine, the adversaries could find some kind of common ground.
Gul was promoted to Norwegian Ambassador to Israel in 2001. Since 2005, she has served as Deputy Director and Ambassador of her country’s delegation to the United Nations in New York City. And in “Oslo” she played Ruth Wilson, who is best known for her role in the series “Luther”.
Mona’s character switches all the time between intense confidence, and extreme anxiety due to the diplomatic crises that may occur as a result of any small mistake during these secret talks, and Wilson transitions seamlessly between the two sides of the character.
At the time of the negotiations, Jules’ husband (Rod Larson) was working at the Favo Institute, a research center in Norway. But for the past 27 years, he continued to work with the Palestine Liberation Organization before serving as the Special Coordinator for the Occupied Territories with the United Nations. Finally, he became president of the International Peace Institute (IPI), an international organization.
Larson, played by Andrew Scott, the satirist priest in Fleabag and the villain in Sherlock, lends an otherwise quite dramatic role a light comedic touch that makes dark and intricate political details More receptive to the viewer, especially since he is the least understanding of the characters in the film in politics, and the simplified and clarified information was passed through him, which is an excellent way to make the viewer understand what is happening in the film without direct lectures from the characters on it, but rather identifies with a character who is closest to his nature.
The third figure in the Triangle of Champions is Ahmed Qurei, who held a variety of important positions in the PLO, and became an effective figure in negotiating the Oslo Accords. He also participated in negotiations with Ehud Barak at Camp David in 2000.
The role was presented by Salim Daou, a Palestinian actor with many important roles, the most recent of which was the movie “Gaza Monamour”, which was shown at the Venice Film Festival and Toronto, where it won the Best Asian Film award, and Palestine was the choice for an Oscar nomination last year.
Daw provided a required balance to Qurei’s character, as he managed it externally through appearance, as well as internally, he combined the firmness and confidence of a Palestinian leader, and the wit of an Arab man who possesses political intelligence, and indeed his best performance in the movie.
Distinctive visual theme
“Oslo” directed by Bartlett Sher, who was able to present an interesting and entertaining film despite his commitment to a very limited number of actors, as well as the place, as the film was adapted from a theatrical script, its events took place only in the place of conversations with some very limited external scenes, which represents the facilitation of the theater director , but at the same time a burden on the film director, who has to maintain the viewer’s attention accustomed to multiple temporal and spatial transitions, and a large number of main and secondary characters.
Cher replaced this with a different use of colors and lighting, so he made a visual theme specific to each place where events moved, such as yellow for scenes in Palestine, and blue for Norwegian scenes, and brilliantly coordinated the design of his scenes, so we find that each color theme affects both the decor, clothes and accessories, but the real problem is It’s the strong hues used in each theme that sometimes makes it look like Instagram filters rather than a movie on screen.